John Shoptaw is the author of Times Beach, winner of the 2015 Notre Dame Book Prize, a book of poems which evokes the cultural and environmental history of the Mississippi River watershed. He was raised in the drained Mississippi floodplain of the Missouri Bootheel, where he picked cotton, worked in a lumber mill, and was baptized in a drainage ditch. He has also published a critical study, On the Outside Looking Out: John Ashbery’s Poetry (Harvard UP); and a libretto on President Lincoln’s assassination for an opera by Eric Sawyer, Our American Cousin (BMOP Sound). He teaches poetry and ecopoetry in the English Department of the University of California at Berkeley.
The Bancroft Library at 150 - A Sesquicentennial Symposium
Session II: Native Americans in the 19th Century
Brian DeLay, UC Berkeley
"Comanches in the Cast: Recovering Mexico's Eminently National War, 1830-1846"
Michael D. Block, U. of Southern California
"More than Hide and Tallow: America's California Commerce before the Gold Rush"
Louis Warren, UC Davis
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High-speed video of hand-made models of winged seeds, showing how a single-winged seed (left) autorotates like a helicopter, which slows its descent, while double-winged seeds do not. The longer a seed remains airborne, the greater chance of wind dispersal.
The whirling, winged seeds of today’s conifers are an engineering wonder and, as University of California, Berkeley, scientists show, a result of about 270 million years of evolution by trees experimenting with the best way to disperse their seeds.
Whirling, or helicoptering, keeps a seed aloft longer, increasing the chance that a gust of wind will carry a seed to a clearing where it can sprout and grow unimpeded by competitors.
“Winged seeds may have contributed to the success of these conifers,” said paleobotanist Cindy Looy, an assistant professor of integrative biology at UC Berkeley, a member of the Berkeley Initiative for Global Change Biology (BiGCB) and a curator with UC Berkeley’s Museum of Paleontology.
Video by Roxanne Makasdjian and Phil Ebiner; footage by Robert Stevenson, Dennis Evangelista and Cindy Looy
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